Contents

Charles William Butterfield[1] was born in Middletown, Ohio and attended high school in Wyoming,[2] although he studied medicine at Transylvania College, he preferred playing in bands,[3] and he studied cornet with Frank Simon. He discontinued his studies after finding success as a trumpeter.

While with Bob Crosby, he initially played third trumpet behind the legendary Charlie Spivak and Yank Lawson. When those two left Crosby to join Tommy Dorsey's band in 1938, Butterfield was given the opportunity to solo on a song written by Crosby bassist Bob Haggart, initially titled "I'm Free." When lyrics were added, it became the well-known standard "What's New?". Crosby's version, featuring Butterfield's brilliant performance, is regarded as one of the great recordings of the Big Band era.

On October 7, 1940, during his brief stay with Artie Shaw's orchestra, Butterfield performed what has been described as a "legendary trumpet solo" on the hit song "Star Dust", he was also a featured soloist in the small group from Shaw's band, the Gramercy Five. Between 1943 and 1947, taking a break to serve in the United States armed forces, Butterfield led his own orchestra, on September 20, 1944, Capitol recorded the jazz standard "Moonlight In Vermont", which featured a vocal by Margaret Whiting and trumpet solos (both open and muted) by Butterfield. The liner notes from the CD Capitol from the Vaults, Volume 2, "Vine Street Divas" indicate that, although Billy Butterfield & His Orchestra were credited with the song, it was really the Les Brown band recording under the name of Billy Butterfield because Brown was under contract to another label at the time.

Butterfield recorded two albums with arranger-conductor Ray Conniff, Conniff Meets Butterfield[5] (1959) and Just Kiddin' Around (1962). Later in the 1960s he recorded two albums with his own orchestra for Columbia Records, the trumpeter

He was a member of the World's Greatest Jazz Band, led by former Crosby bandmates Yank Lawson and Bob Haggart,[4] from the late 1960s until his death in 1988, he also freelanced as a guest star with many bands all over the world, and performed at many jazz festivals, including the Manassas Jazz Festival and Dick Gibson's Bash in Colorado.

1.
Middletown, Ohio
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Middletown is a city located in Butler and Warren counties in the southwestern part of the U. S. state of Ohio. Formerly in Lemon, Turtlecreek, and Franklin townships, Middletown was incorporated by the Ohio General Assembly on February 11,1833, the population of Middletown as of the 2010 census was 48,694. It is part of the Cincinnati-Middletown Metropolitan Statistical Area as defined by the U. S. Census Bureau, Middletown contains a small municipal airport known as Hook Field, but is no longer served by commercial airlines, only general aviation. A regional campus of Miami University is located in Middletown, in 1957, Middletown was designated as an All-America City. The citys name is believed to have given by its founder, Stephen Vail. One local historian stated that the city received its name because Mr. Vail had come from Middletown, another writer believed that the city was named Middletown because it was the midway point of navigation on the Great Miami River, which was then considered a navigable stream. Another theory is credited to the city being roughly halfway between Dayton and Cincinnati, Vail centered the city in Fractional Section 28 of Town 2, Range 4 North. One of the first settlers in Middletown was Daniel Doty who migrated there from New Jersey in the late 18th century, Middletown is located at 39°30′N 84°23′W. According to the United States Census Bureau, the city has an area of 26.43 square miles. Middletown adjoins the Great Miami River, Middletown also borders the cities of Franklin, Monroe, Trenton, and Liberty and Madison Townships. As of the census of 2010, there were 48,694 people,20,238 households, the population density was 1,859.3 inhabitants per square mile. There were 23,296 housing units at a density of 889.5 per square mile. The racial makeup of the city was 83. 3% White,11. 7% African American,0. 2% Native American,0. 5% Asian,1. 6% from other races, hispanic or Latino of any race were 3. 8% of the population. 31. 5% of all households were made up of individuals and 11. 9% had someone living alone who was 65 years of age or older, the average household size was 2.38 and the average family size was 2.97. The median age in the city was 38.3 years. 24. 3% of residents were under the age of 18, 9% were between the ages of 18 and 24,24. 7% were from 25 to 44,27. 1% were from 45 to 64, and 14. 9% were 65 years of age or older. The gender makeup of the city was 47. 5% male and 52. 5% female, as of the census of 2000, there were 51,605 people,21,469 households, and 13,933 families residing in the city. The population density was 2,011.4 people per square mile, there were 23,144 housing units at an average density of 902.1 per square mile

2.
North Palm Beach, Florida
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North Palm Beach is an incorporated village in Palm Beach County, Florida, United States. The population was 12,015 at the 2010 census, the village won an award from the National Association of Home Builders as best planned community of 1956. The North Palm Beach Country Club is home to a Jack Nicklaus Signature golf course. In 1954 for $5.5 million John D. MacArthur bought 2,600 acres of land in northern Palm Beach County that had been owned originally by Harry Seymour Kelsey and later by Sir Harry Oakes. The land included most of todays North Palm Beach as well as Lake Park, Palm Beach Gardens, MacArthur then began developing what is now North Palm Beach, which sat on former mangrove swamps and farm land. The area was punctuated only by Monet Road and Johnson Dairy Road to the north and south and US1, US1 was widened and became the main office and civic corridor. In 1958-1959, North Palm Beach elected Walter E. Thomas, Walter and his wife Jackie and four children were the 55th family to move into the Village, arriving in 1957. Lake Park West Road was also extended from Old Dixie Highway to US1 and was renamed Northlake Boulevard, the Twin City Mall, an enclosed shopping center, opened in 1970 at the corner of Northlake Boulevard and US1 as Palm Beach Countys second enclosed shopping mall. This Mall built onto the previous grocery store/strip mall completed in 1959, the mall contained a Sears, Jeffersons and GC Murphys department stores, as well as the locally popular Karmelcorn and Orange Bowl eateries. The mall also sported one of the few theaters in the vicinity. The enclosed mall was demolished in the mid-1990s and has gradually replaced by a mid-sized strip mall anchored by Publix. In 2006, village resident Jack Nicklaus redesigned the villages golf course, North Palm Beach is located at 26°49′06″N 80°03′49″W. According to the United States Census Bureau, the village has an area of 5.8 square miles. As of the census of 2010, there were 12,015 people,6,093 households, the population density was 3,337.5 inhabitants per square mile. There were 7,710 housing units at a density of 2,057.1 per square mile. The racial makeup of the village was 94. 6% White,2. 7% African American,0. 1% Native American,1. 7% Asian,0. 02% Pacific Islander,0. 9% from other races, and 1. 3% from two or more races. 39. 2% of all households were made up of individuals and 18. 3% had someone living alone who was 65 years of age or older, the average household size was 1.97 and the average family size was 2.63. In the village, the population was out with 14. 0% under the age of 18,3. 9% from 18 to 24,24. 2% from 25 to 44,26. 8% from 45 to 64

3.
Jazz
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Jazz is a music genre that originated amongst African Americans in New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in Blues and Ragtime. Since the 1920s jazz age, jazz has become recognized as a form of musical expression. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms, Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Although the foundation of jazz is deeply rooted within the Black experience of the United States, different cultures have contributed their own experience, intellectuals around the world have hailed jazz as one of Americas original art forms. As jazz spread around the world, it drew on different national, regional, and local musical cultures, New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging musicians music which was played at faster tempos and used more chord-based improvisation. Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock rhythms, electric instruments. In the early 1980s, a form of jazz fusion called smooth jazz became successful. Other styles and genres abound in the 2000s, such as Latin, the question of the origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a term dating back to 1860 meaning pep. The use of the word in a context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a context in New Orleans was in a November 14,1916 Times-Picayune article about jas bands. In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, When Broadway picked it up. That was dirty, and if you knew what it was, the American Dialect Society named it the Word of the Twentieth Century. Jazz has proved to be difficult to define, since it encompasses such a wide range of music spanning a period of over 100 years. Attempts have been made to define jazz from the perspective of other musical traditions, in the opinion of Robert Christgau, most of us would say that inventing meaning while letting loose is the essence and promise of jazz. As Duke Ellington, one of jazzs most famous figures, said, although jazz is considered highly difficult to define, at least in part because it contains so many varied subgenres, improvisation is consistently regarded as being one of its key elements

4.
Swing music
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Swing music, or simply swing, is a form of American music that dominated in the 1930s and 1940s. The name swing came from the swing feel where the emphasis is on the off–beat or weaker pulse in the music, Swing bands usually featured soloists who would improvise on the melody over the arrangement. The danceable swing style of big bands and bandleaders such as Benny Goodman was the dominant form of American popular music from 1935 to 1946, the verb to swing is also used as a term of praise for playing that has a strong groove or drive. Notable musicians of the era include Louis Armstrong, Cab Calloway, Benny Goodman, Duke Ellington, Glenn Miller, Count Basie, Woody Herman. Swing has roots in the late 1920s as larger ensembles began using written arrangements, a typical song played in swing style would feature a strong, anchoring rhythm section in support of more loosely tied wind and brass. The most common style consisted of having a soloist take center stage, Swing music began to decline in popularity during World War II because of several factors. By the late 1940s, swing had morphed into traditional pop music, or evolved into new styles such as jump blues, Swing music saw a revival in the late 1950s and 1960s with pop vocalists such as Frank Sinatra, Nat King Cole, and Ella Fitzgerald. Swing blended with other genres to create new styles, in country music, artists such as Jimmie Rodgers, Moon Mullican and Bob Wills introduced many elements of swing along with blues to create a genre called western swing. Gypsy swing is an outgrowth of Venuti and Langs jazz violin swing, in the 1970s, and 1980s, fans of big band music attended swing music performances at supper clubs. In the late-1980s a trendier, more urban-styled swing-beat emerged called new jack swing, in the late 1990s and into the 2000s there was a swing revival, led by Squirrel Nut Zippers, Brian Setzer, Big Bad Voodoo Daddy, and Lavay Smith. In Canada, some of the early 2000s records by The JW-Jones Blues Band included swing revival elements, the 1920s saw parallel trends in jazz and popular music that would later converge into the swing style. New Orleans style jazz was based on a meter and contrapuntal improvisation led by a trumpet or cornet, typically followed by a clarinet. The rhythm section consisted of a tuba and drums, and sometimes a banjo, by the early 1920s guitars and pianos sometimes substituted for the banjo and a string bass sometimes substituted for the tuba. Further innovations in small ensemble playing led to development of the Chicago style identified with Louis Armstrong, a stint with the Fletcher Henderson Orchestra familiarized him with arranged ensemble playing that differed from the New Orleans style, in which saxophones became the dominant sound among the reeds. Armstrong brought those back to his smaller ensembles, the soloist played over an ensemble relegated to a supporting role in the background. The string bass also lent itself to playing in a 4/4 rhythm rather than the 2/4 rhythm dictated by the tuba. The new format gave the soloist the opportunity to play with more rhythmic freedom, but playing with swing remained the province of the soloist, not the ensemble. The late 1920s saw increasingly sophisticated arrangements used by bigger ensembles, some arrangements used call-response between horn sections to build the melody

5.
Big band
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A big band is a type of musical ensemble associated with playing jazz music and which became popular during the Swing Era from the early 1930s until the late 1940s. Big Bands evolved with the times and continue to this day, a big band typically consists of approximately 12 to 25 musicians and contains saxophones, trumpets, trombones, and a rhythm section. The terms jazz band, jazz ensemble, stage band, jazz orchestra and this does not, however, mean that each one of these names is technically correct for naming a big band specifically. The music is traditionally called charts, improvised solos may be played only when called for by the arranger. There are two periods in the history of popular bands. Beginning in the mid-1920s, big bands, then consisting of 10–25 pieces. At that time they played a form of jazz that involved very little improvisation, which included a string section with violins. A few bands also had violas and cellos, usually one or two along with them, the dance form of jazz was characterized by a sweet and romantic melody. Orchestras tended to stick to the melody as it was written and vocals would be sung, many of these artists changed styles or retired after the introduction of swing music. Although unashamedly commercial, these bands often featured front-rank jazz musicians - for example Paul Whiteman employed Bix Beiderbecke, there were also all-girl bands such as Helen Lewis and Her All-Girl Jazz Syncopators. Towards the end of the 1920s, a new form of Big Band emerged which was more authentically jazz and this form of music never gained the popularity of the sweet dance form of jazz. The few recordings made in form of jazz were labelled race records and were intended for a limited urban audience. Few white musicians were familiar with music, Johnny Mercer. The three major centres in this development were New York City, Chicago and Kansas City, some big ensembles, like the Joe King Oliver outfit played a kind of half arranged, half improvised jazz, often relying on head arrangements. Other great bands, like the one of Luis Russell became a vehicle for star instrumentalists, there the whole arrangement had to promote all the possibilities of the star, although they often contained very good musicians, like Henry Red Allen, J. C. Earl Hines became the star of Chicago with his Grand Terrace Cafe band, meanwhile, in Kansas City and across the Southwest, an earthier, bluesier style was developed by such bandleaders as Benny Moten and, later, by Jay McShann and Jesse Stone. Radio was a factor in gaining notice and fame for Benny Goodman. Soon, others challenged him, and the battles of the bands became a staple at theater performances featuring many groups on one bill

6.
Trumpet
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A trumpet is a musical instrument commonly used in classical and jazz ensembles. The trumpet group contains the instruments with the highest register in the brass family, trumpets are used in art music styles, for instance in orchestras, concert bands, and jazz ensembles, as well as in popular music. They are played by blowing air through almost-closed lips, producing a sound that starts a standing wave vibration in the air column inside the instrument. Since the late 15th century they have primarily been constructed of brass tubing, there are many distinct types of trumpet, with the most common being pitched in B♭, having a tubing length of about 1.48 m. Early trumpets did not provide means to change the length of tubing, most trumpets have valves of the piston type, while some have the rotary type. The use of rotary-valved trumpets is more common in orchestral settings, each valve, when engaged, increases the length of tubing, lowering the pitch of the instrument. A musician who plays the trumpet is called a trumpet player or trumpeter, the earliest trumpets date back to 1500 BC and earlier. The bronze and silver trumpets from Tutankhamuns grave in Egypt, bronze lurs from Scandinavia, trumpets from the Oxus civilization of Central Asia have decorated swellings in the middle, yet are made out of one sheet of metal, which is considered a technical wonder. The Shofar, made from a ram horn and the Hatzotzeroth and they were played in Solomons Temple around 3000 years ago. They were said to be used to blow down the walls of Jericho and they are still used on certain religious days. The Salpinx was a straight trumpet 62 inches long, made of bone or bronze, Salpinx contests were a part of the original Olympic Games. The Moche people of ancient Peru depicted trumpets in their art going back to AD300, the earliest trumpets were signaling instruments used for military or religious purposes, rather than music in the modern sense, and the modern bugle continues this signaling tradition. Improvements to instrument design and metal making in the late Middle Ages, the natural trumpets of this era consisted of a single coiled tube without valves and therefore could only produce the notes of a single overtone series. Changing keys required the player to change crooks of the instrument, the development of the upper, clarino register by specialist trumpeters—notably Cesare Bendinelli—would lend itself well to the Baroque era, also known as the Golden Age of the natural trumpet. During this period, a vast body of music was written for virtuoso trumpeters, the art was revived in the mid-20th century and natural trumpet playing is again a thriving art around the world. The melody-dominated homophony of the classical and romantic periods relegated the trumpet to a role by most major composers owing to the limitations of the natural trumpet. Berlioz wrote in 1844, Notwithstanding the real loftiness and distinguished nature of its quality of tone, there are few instruments that have been more degraded. The attempt to give the trumpet more chromatic freedom in its range saw the development of the keyed trumpet, the symphonies of Mozart, Beethoven, and as late as Brahms, were still played on natural trumpets

7.
Flugelhorn
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The flugelhorn is a brass instrument pitched in B♭, and resembles a trumpet, but has a wider, conical bore. The instrument known today as the flugelhorn is a descendant of the valved bugle, the valved bugle provided Adolphe Sax with the inspiration for his B♭ soprano saxhorns, on which the modern-day flugelhorn is modeled. The German word Flügel translates into English as wing or flank, the flugelhorn is built in the same B♭ pitch as many trumpets and cornets. It usually has three valves and employs the same fingering system as other brass instruments, but four-piston valve. It can thus be played too much trouble by trumpet and cornet players. It is usually played with a more deeply conical mouthpiece than either trumpets or cornets, some modern flugelhorns feature a fourth valve that lowers the pitch a perfect fourth. This adds a low range that, coupled with the flugelhorns dark sound. More often, however, players use the valve in place of the first and third valve combination. A pair of bass flugelhorns in C, called fiscorns, are played in the Catalan cobla bands which provide music for sardana dancers, the tone is fatter and usually regarded as more mellow and dark than the trumpet or cornet. The sound of the flugelhorn has been described as halfway between a trumpet and a French horn, whereas the sound is halfway between a trumpet and a flugelhorn. The flugelhorn is as agile as the cornet but more difficult to control in the high register and it is not generally used for aggressive or bright displays as trumpets and cornets often are, but tends more towards a softer and more reflective role. The flugelhorn is a member of the British-style brass band. It also appears occasionally in orchestral and concert band music, famous orchestral works with flugelhorn include Igor Stravinskys Threni, Ralph Vaughan Williamss Ninth Symphony, Danzon no.2 by Arturo Marquez, and Michael Tippetts third symphony. The flugelhorn is sometimes substituted for the post horn in Mahlers Third Symphony, in HK Grubers trumpet concerto Busking the soloist is directed to play a flugelhorn in the slow middle movement. The flugelhorn figured prominently in many of Burt Bacharachs 1960s pop song arrangements and it is featured in a solo role in Bert Kaempferts 1962 recording of That Happy Feeling. Flugelhorns have occasionally used as the alto or low soprano voice in a drum. The flugelhorns in these orchestras are pitched in B-flat, with sporadically an E-flat soloïst, due to bad intonation these E-flat flugelhorns are mostly being replaced by the E-flat trumpet or cornet. Joe Bishop, as a member of the Woody Herman band in 1936, was one of the earliest jazz musicians to use the flugelhorn, shorty Rogers and Kenny Baker began playing it in the early fifties, and Clark Terry used it in Duke Ellingtons orchestra in the mid-1950s

8.
Cornet
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The cornet /ˈkɔːrnɪt/ is a brass instrument similar to the trumpet but distinguished from it by its conical bore, more compact shape, and mellower tone quality. The most common cornet is an instrument in B♭, though there is also a soprano cornet in E♭. Both are unrelated to the renaissance and early baroque cornett, the cornet was initially derived from the post horn around 1820 in France. Among the first manufacturers of modern cornets was Parisian Jean Asté in 1828, cornets first appeared as separate instrumental parts in 19th century French compositions. This instrument could not have developed without the improvement of piston valves by Silesian oboe player Friedrich Blühmel. These two instrument makers almost simultaneously invented valves, though it is likely that Blühmel was the inventor and they jointly applied for a patent and were granted this for a period of ten years. Later, and most importantly, François Périnet received a patent in 1838 for a valve which is the basis of all modern brass instrument piston valves. Up until the early 20th century, the trumpet and cornet coexisted in musical ensembles, symphonic repertoire often involves separate parts for trumpet and cornet. As several instrument builders made improvements to instruments, they started to look and sound more alike. The modern day cornet is used in bands, concert bands. The name cornet derives from corne, meaning horn, itself from Latin cornu, while not musically related, instruments of the Zink family are named cornetto or cornett in modern English to distinguish them from the valved cornet described here. The 11th edition of the Encyclopædia Britannica referred to serpents as old wooden cornets, the Roman/Etruscan cornu is the lingual ancestor of these. It is a predecessor of the post horn from which the evolved and was used like a bugle to signal orders on the battlefield. The instrument was once referred to as a cornopean, referencing the earliest cornets with the Stölzel valve system. The cornet was invented by adding valves to the post horn in 1814, the valves allowed for melodic playing throughout the register of the cornet. Trumpets were slower to adopt the new technology, so for the next 100 years or more. The trumpet would play fanfare-like passages, while the cornet played more melodic passages, the modern trumpet has valves that allow it to play the same notes and fingerings as the cornet. Cornets and trumpets made in a key play at the same pitch

9.
Transylvania University
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Transylvania University is a private university in Lexington, Kentucky, United States. It was founded in 1780, making it the first university in Kentucky and it offers 36 major programs, as well as dual-degree engineering programs, and is accredited by the Southern Association of Colleges and Schools. Its medical program graduated 8,000 physicians by 1859 and its enduring footprint, both in national and southern academia, make it among the most prolific cultural establishments and the most storied institutions in the South. Transylvania was the first college west of the Allegheny Mountains, and was the namesake of the Colony of Transylvania, Latin for across the woods, Thomas Jefferson was governor of Virginia when the Virginia Assembly chartered Transylvania Seminary in 1780. Called Transylvania University by 1799, its first sponsor was the Christ Episcopal Churchs rector, the school later became affiliated with the Presbyterian Church. Originally situated in a log cabin in Boyle County, Kentucky, the first site in Lexington was a single building in what is now the historic Gratz Park. By 1818, a new building was constructed for students classes. Later, in 1829, that burned, and the school was moved to its present location north of Third Street. Old Morrison, the campus building at the time, was constructed 1830–34, under the supervision of Henry Clay. After 1818, the university included a school, a law school, a divinity school. This school was not affiliated with the modern University of Kentucky, founded by Baptist churches in Kentucky, Bacon College operated from 1837 to 1851. It was also distinct from nearby Georgetown College, another Baptist-supported institution and this school closed in 1860 and its Harrodsburg building burned in 1864. By mutual agreement and an act of the legislature the college was merged with Transylvania University in 1865. It attracted many politically ambitious young men including Stephen F. Austin, following the devastating Civil War, Kentucky University was hit by a major fire, and both it and Transylvania University were left in dire financial straits. In 1865, both institutions secured permission to merge, the new institution used Transylvanias campus in Lexington while perpetuating the Kentucky University name. However, due to questions regarding having a federally funded land-grant college controlled by a religious body, the A&M of Kentucky soon developed into one of the states flagship public universities, the University of Kentucky. Kentucky Universitys College of the Bible, which traced its roots to Bacon Colleges Department of Hebrew Literature, Transylvanias seminary eventually became a separate institution, but remained housed on the Kentucky University campus until 1950. It later changed its name to the Lexington Theological Seminary, in 1903, Hamilton College, a Lexington-based womens college founded in 1869, merged into Kentucky University

10.
Bob Crosby
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George Robert Bob Crosby was an American jazz singer and bandleader, known for his group the Bob-Cats. Crosby was born in Spokane, Washington, the seven Crosby children were brothers Larry, Everett, Ted, and Harry, sisters Catherine and Mary Rose, and Bob. His parents were English-American bookkeeper Harry Lowe Crosby and Irish-American Catherine Harrigan, Crosby attended Gonzaga College, but he dropped out to seek a career in music. During World War II, he served in the U. S. Marines, Bob Crosby began singing in the early 1930s with the Rhythm Boys, which included vocalist Ray Hendricks and guitarist Bill Pollard, and with Anson Weeks and the Dorsey Brothers. He led his first band in 1935 when the members of Ben Pollacks band elected him their titular leader. In 1935 he recorded with the Clark Randall Orchestra led by Gil Rodin and featuring singer Frank Tennille, father of Toni formerly of Captain, Glenn Miller was a member of that orchestra, which recorded the Glenn Miller novelty composition When Icky Morgan Plays the Organ in 1935. Crosbys singing voice was similar to that of his brother Bing. A much later account from 1943 mentions a young trumpeter by the name of Gilbert Portmore who occasionally played with the band. The orchestra was one of the few bands of its time established as a corporation of its members. The band was formed out of the ruins of the Ben Pollack Orchestra. Needing a vocalist, they chose Crosby simply for his personality, looks and he was made the front man of the band, and his name became the bands public identity. In the spring of 1940, during a performance in Chicago, a novelty bass-and-drums duet between Haggart and Bauduc, Big Noise from Winnetka, became a hit in 1938-39. The enduring popularity of the Bob-Cats led by Bob Crosby, whose biography was written by British jazz historian John Chilton, was evident during the frequent reunions in the 1950s and 1960s. Bob Haggart and Yank Lawson organized a band that kept the spirit alive, combining Dixieland, from the late 1960s until the mid 1970s, the group was known as the Worlds Greatest Jazzband. Since neither leader was happy with that name, they reverted to the Lawson-Haggart Jazzband. The Lawson-Haggart group was consistent in keeping the Bob Crosby tradition alive, three of his songs were featured in three hit video games, Fallout 3, Fallout, New Vegas, and Fallout 4, published by Bethesda Softworks. Crosby has two stars on the Hollywood Walk of Fame, for television and radio, both were dedicated February 8,1960. During World War II, Bob Crosby spent 18 months in the Marines touring with bands in the Pacific and his radio variety series, The Bob Crosby Show, aired on NBC and CBS in different runs from July 18,1943, to July 16,1950

11.
Artie Shaw
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Artie Shaw was an American clarinetist, composer, bandleader, and actor. Also an author, Shaw wrote both fiction and non-fiction, widely regarded as one of jazzs finest clarinetists, Shaw led one of the United States most popular big bands in the late 1930s through the early 1940s. Though he had hit records, he was perhaps best known for his 1938 recording of Cole Porters Begin the Beguine. Prior to the release of Beguine, Shaw and his band had languished in relative obscurity for over two years and, after its release, he became a major pop artist within short order. The record eventually became one of the defining recordings. Musically restless, Shaw was also a proponent of what became known much later as Third Stream music. Shaw also recorded with jazz groups drawn from within the ranks of the various big bands he led. He served in the US Navy from 1942 to 1944, and, following his discharge in 1944, Shaw was born Arthur Jacob Arshawsky in New York City, the son of Sarah and Harry Arshawsky, who worked as a dressmaker and photographer. His family was Jewish, his father was from Russia, his mother from Austria, Shaw grew up in New Haven, Connecticut where, according to his autobiography, his natural introversion was deepened by local antisemitism. Shaw bought a saxophone by working in a store, and began learning the saxophone at 13, by 16, he switched to the clarinet. Returning to New York, he became a musician through the early 1930s. In 1929 and 1930, he played with Irving Aaronsons Commanders, where he was exposed to symphonic music, in 1935, Shaw first gained attention with his Interlude in B-flat at a swing concert at the Imperial Theater in New York. During the swing era, his big bands were popular hits like Begin the Beguine, Stardust, Back Bay Shuffle, Moonglow, Rosalie. The show was received, but forced to dissolve in 1937 because his bands sound was not commercial. His incorporation of stringed instruments could be attributed to the influence of classical composer Igor Stravinsky. S. However, after recording Any Old Time, she left the band due to hostility from audiences in the South as well as music company executives who wanted a more mainstream singer. His band became successful, and his playing was eventually recognized as equal to that of Benny Goodman. Longtime Duke Ellington clarinetist Barney Bigard cited Shaw as his favorite clarinet player, in response to Goodmans nickname, the King of Swing, Shaws fans dubbed him the King of the Clarinet

12.
Les Brown (bandleader)
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The Band of Renown began in the late 1930s, initially as the group Les Brown and His Blue Devils, led by Brown while he was a student at Duke University. He was the first president of the Los Angeles chapter of the National Academy of Recording Arts, the band now performs under the direction of his son, Les Brown, Jr. Brown was born in Reinerton, Pennsylvania. Brown attended college at Duke University from 1932–1936, there he led the group Les Brown and His Blue Devils, who performed regularly on Dukes campus and up and down the east coast. Brown took the band on a summer tour in 1936. At the end of the tour, while some of the members returned to Duke to continue their education, others stayed on with Brown and continued to tour. In 1942 he and his band concluded work on an RKO picture, Sweet and Hot, played at the Palladium Ballroom, a few years later, in 1945, this band brought Doris Day into prominence with their recording of Sentimental Journey. The songs release coincided with the end of World War II in Europe, the band had nine other number-one hit songs, including Ive Got My Love to Keep Me Warm. Les Brown and the Band of Renown performed with Bob Hope on radio, stage and they did 18 USO Tours for American troops around the world, and entertained over three million people. Before the Super Bowls were televised, the Bob Hope Christmas Specials were the programs in television history. Tony Bennett was discovered by Bob Hope and did his first public performance with Brown, the first film that Brown and the band appeared in was Seven Days Leave starring Victor Mature and Lucille Ball. Rock-A-Billy Baby, a low-budget 1957 film, was the Band of Renowns second and in 1963, Brown and the Band were also the house band for The Steve Allen Show and the Dean Martin Variety Show. Brown and the band performed with every major performer of their time, including Frank Sinatra, Ella Fitzgerald. The annual Les Brown Big Band Festival, started March 2006 in Les hometown, at the 2012 festival celebrating the 100th birthday anniversary, the town of Reinerton renamed the street near Les birthplace to Les Brown Lane. In 2013 the his hometown of Reinerton, PA adopted as the official slogan, Reinerton, The Town of Renown in honor of Les. Les Brown Sr. died of cancer in 2001, and was interred in the Westwood Village Memorial Park Cemetery in Los Angeles. He was survived by his wife Evelyn, son Les Jr. and he was 88 years old at the time of his death. His grandson, Jeff Swampy Marsh, co-created the show Phineas, Brown was inducted into the North Carolina Music Hall of Fame in 2010. In 2001, Les Brown, Jr. born 1940, became the leader of the Band of Renown

13.
Benny Goodman
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Benjamin David Benny Goodman was an American jazz and swing musician, clarinetist and bandleader, known as the King of Swing. In the mid-1930s, Goodman led one of the most popular groups in America. Goodmans bands launched the careers of many jazz artists. During an era of segregation, he led one of the first well-known integrated jazz groups. Goodman performed nearly to the end of his life while exploring an interest in classical music, Goodman was born in Chicago, the ninth of twelve children of poor Jewish immigrants from the Russian Empire. His father, David Goodman, came to America in 1892 from Warsaw in partitioned Poland and his mother, Dora, came from Kaunas, Lithuania. His parents met in Baltimore, Maryland, and moved to Chicago before Benny was born, hundreds of houses are unconnected with the street sewer. Money was a constant problem in the family, Bennys father earned at most $20 per week. On Sundays, his father took the children to free concerts in Douglas Park. The following year Benny joined the club band at Jane Addamss Hull House. By joining the band, he was entitled to two weeks at a summer camp about fifty miles from Chicago. It was the time he was able to get away from the bleak environment of his urban neighborhood. He also received two years of instruction from the classically trained clarinetist Franz Schoepp and his early influences were New Orleans jazz clarinetists working in Chicago, notably Johnny Dodds, Leon Roppolo and Jimmie Noone. Goodman learned quickly, becoming a player at an early age. Goodman made his debut in 1921 at the Central Park Theater on Chicagos West Side. He entered Harrison High School in Chicago in 1922 and he joined the musicians’ union in 1923 and by the age of 14 was in a band featuring Bix Beiderbecke. Goodman attended Lewis Institute in 1924 as a sophomore, while also playing the clarinet in a dance hall band. When Goodman was 16, he joined one of Chicagos top bands, when he was 17, his father was killed by a passing car after stepping off a streetcar

14.
Charlie Spivak
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Charlie Spivak was an American trumpeter and bandleader, best known for his big band in the 1940s. The details of Spivaks birth are unclear, some sources place it in Ukraine in 1907, and that his family emigrated to settle in New Haven, Connecticut while he was a child. Others place his birth in New Haven two years earlier, in 1905 and he learned to play trumpet when he was ten years old and played in his high school band, going on to work with local groups before joining Johnny Cavallaros orchestra. He played with Paul Spechts band for most of 1924 to 1930, then spent time with Ben Pollack, the brothers Tommy and Jimmy Dorsey and he played on Solo Hop in 1935 by Glenn Miller and the Glenn Miller Orchestra. Finally, with the encouragement and financial backing of Glenn Miller, though it failed within a year, he tried again shortly afterwards, this time taking over the existing band of Bill Downer and making a success of it. Spivaks band was one of the most successful in the 1940s and he scouted top trumpeter Paul Fredricks just as Fredricks left the service at the end of World War II, in 1946. Fredricks was instrumental in the success in the coming years as it reached its peak. Spivaks experience playing with jazz musicians had little effect on his own bands style, Spivak himself had been noted for his trumpets sweet tone and his strength for playing lead parts, rather than for any improvisational ability. Riddle was also responsible for many of the arrangements, together with Sonny Burke. The late Manny Albam also arranged for the Spivak band, when the Spivak orchestra broke up, he went to live in Florida, where he continued to lead a band until illness led to his temporary retirement in 1963. On his recovery, he continued to lead large and small bands, first in Las Vegas, in Greenville, South Carolina in 1967, he led a small group featuring his wife as vocalist. She died in 1971 after an illness with cancer. During this time, Spivak was also resident band leader for a restaurant-nightclub, Ye Olde Fireplace, in Greenville and he played trumpet in the dance band that included a drummer, saxophonist, bass player and pianist. The band played standards from the big band era, but also requests from the audience. Spivak continued to play and record until his death, Spivaks eldest son, the late Joel A. Spivak, was a television and radio broadcaster primarily in the Philadelphia, Los Angeles, and Washington, D. C. areas. Spivaks youngest son, Steven Glenn Spivak, is a public relations manager in northern California, charlie Spivak at Find a Grave

15.
Tommy Dorsey
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Thomas Francis Tommy Dorsey, Jr. was an American jazz trombonist, composer, conductor and bandleader of the Big Band era. He was known as the Sentimental Gentleman of Swing, because of his smooth-toned trombone playing and his technical skill on the trombone gave him renown among other musicians. He was the brother of bandleader Jimmy Dorsey. After Dorsey broke with his brother in the mid-1930s, he led an extremely popular and he is best remembered for standards such as Opus One, Song of India, Marie, On Treasure Island, and his biggest hit single Ill Never Smile Again. Thomas Francis Dorsey, Jr. was born in Mahanoy Plane, Pennsylvania, the second of four born to Thomas Francis Dorsey, Sr. a bandleader himself. He and Jimmy, his brother by slightly less than two years, would become famous as the Dorsey Brothers. The two younger siblings were Mary and Edward, Tommy Dorsey initially studied the trumpet with his father, only to later switch to the trombone. At age 15, Jimmy recommended Tommy as the replacement for Russ Morgan in the 1920s territory band The Scranton Sirens, Tommy and Jimmy worked in several bands, including those of Tal Henry, Rudy Vallee, Vincent Lopez, Nathaniel Shilkret. In 1923, Dorsey followed his brother Jimmy to Detroit to play in Jean Goldkettes band, in 1927 he joined Paul Whiteman. In 1929, the Dorsey Brothers had their first hit with Coquette for OKeh records, in 1934, the Dorsey Brothers band signed with Decca records, having a hit with I Believe In Miracles. Ongoing acrimony between the brothers, however, led to Tommy Dorseys walking out to form his own band in 1935, Dorseys orchestra was known primarily for its renderings of ballads at dance tempos, frequently with singers such as Jack Leonard and Frank Sinatra. Tommy Dorseys first band was formed out of the remains of the Joe Haymes band, if he admired a vocalist, musician or arranger, he would think nothing of taking over their contracts and careers. Dorsey had a reputation for being a perfectionist and he was volatile and also known to hire and fire musicians based on his mood. The new band was popular from almost the moment it signed with RCA Victor with On Treasure Island, after his 1935 recording however, Dorseys manager cut the hot jazz that Dorsey had mixed with his own lyrical style and instead had Dorsey play pop and vocal tunes. Dorsey would keep his Clambake Seven as a Dixieland group that played during performances, the Dorsey band had a national radio presence in 1936, first from Dallas and then from Los Angeles. Tommy Dorsey and his Orchestra took over comedian Jack Pearls radio show in 1937, by 1939, Dorsey was aware of criticism that his band lacked a jazz feeling. He hired arranger Sy Oliver away from the Jimmie Lunceford band, Sy Olivers arrangements include On The Sunny Side of the Street and T. D. s Boogie Woogie, Oliver also composed two of the new bands signature instrumentals, Well, Git It and Opus One. In 1940, Dorsey hired singer Frank Sinatra from bandleader Harry James, Frank Sinatra made eighty recordings from 1940 to 1942 with the Dorsey band

16.
Stardust (song)
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Stardust is a popular song composed in 1927 by Hoagy Carmichael with lyrics added in 1929 by Mitchell Parish. Carmichael first recorded the song, originally titled Star Dust, at the Gennett Records studio in Richmond, in 2004, Carmichaels original 1927 recording of the song was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry. According to Carmichael, the inspiration for Stardust came to him while he was on the campus of his alma mater, Indiana University, in Bloomington and he began whistling the tune, then rushed to the Book Nook, a popular student hangout, and started composing. He worked to refine the melody over the course of the several months. Carmichael said he was inspired by the types of improvisations made by Bix Beiderbecke, the tune at first attracted only moderate attention, mostly from fellow musicians, a few of whom recorded their own versions of Carmichaels tune. Mitchell Parish wrote lyrics for the song, based on his own and Carmichaels ideas, a slower version had been recorded in October 1928, but the real transformation came on May 16,1930, when bandleader Isham Jones recorded it as a sentimental ballad. Stardust is a 32-bar melody with a slightly unusual ABAC structure, while the verse is often omitted in recordings, Frank Sinatra made a recording in 1961 of just the verse. The verse and chorus have the final cadence, though other than that they are musically distinct. The original sheet music publication of Stardust was published under the title Star Dust by Mills Music with a date of 1929. The first recording of the song, which was made by Hoagy Carmichael in 1927 prior to the writing of the lyrics, was titled STARDUST. Carmichael referred to his song as Stardust in a 1936 letter to M. B, Popular music historian Will Friedwald, in his book Stardust Melodies, The Biography of Twelve of Americas Most Popular Songs, states that the correct title is given as two words, Star Dust. There have been interpretations of the standard over the decades. Isham Joness recording became the first of many hit versions of the tune, young baritone sensation Bing Crosby released a version in 1931, and by the following year, over two dozen bands had recorded Stardust. It was then covered by almost every prominent band of that era, glenn Miller also released a recording of the song on V-Disc, No. 65A, with a spoken introduction recorded with the AAFTC Orchestra which was released in December 1943, Billy Ward and His Dominoes, in 1957, had a #12 hit with the song on the Billboard Pop chart, which is one of the earliest RnB/rocknroll recordings in true stereo. Ringo Starr recorded a version for his first solo album, Sentimental Journey, Sergio Franchi covered the song on his 1964 RCA Victor album The Exciting Voice of Sergio Franchi. Rod Stewart recorded the song for his album Stardust, The Great American Songbook Volume III, katie Melua recorded a cover on her EP Nine Million Bicycles in 2005. Michael Bublé recorded it for his album Crazy Love, released in 2009, certain recorded variations on the song have become notable

17.
Capitol Records
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Capitol Records, LLC is an American record label which operates as a division of the Capitol Music Group. The label was founded as the first West Coast-based record label in the United States in 1942 by three industry insiders named Johnny Mercer, Buddy DeSylva and Glenn Wallichs, in 1955, the label was acquired by the British music conglomerate EMI as its North American subsidiary. EMI was later acquired by Universal Music Group in 2012 and was merged with the company in 2013, making Capitol Records, Capitol Records circular headquarter building located in Los Angeles is a recognized landmark of California. Mercer first raised the idea of starting a company while golfing with Harold Arlen. By 1941, Mercer was a songwriter and a singer with multiple successful releases. Mercer next suggested the idea to Wallichs while visiting his record store, Wallichs expressed interest in the idea and the pair negotiated an agreement whereby Mercer would run the company and identify their artists, while Wallichs managed the business side. On February 2,1942, Mercer and Wallichs met with DeSylva at a Hollywood restaurant to inquire about the possibility of investment of the company from Paramount Pictures, while DeSylva declined the proposal, he handed the pair a check worth $15,000. On March 27,1942, the three men incorporated as Liberty Records, in May 1942, the application was amended to change the companys name to Capitol Records. On April 6,1942, Mercer supervised Capitols first recording session where Martha Tilton recorded the song Moon Dreams, on May 5, Bobby Sherwood and his orchestra recorded two tracks in the studio. On May 21, Freddie Slack and his orchestra recorded three tracks in the studio, one with the orchestra, one with Ella Mae Morse called Cow-Cow Boogie, on June 4,1942, Capitol opened its first office in a second-floor room south of Sunset Boulevard. On that same day, Wallichs presented the companys first free record to Los Angeles disc jockey Peter Potter, on June 5,1942, Paul Whiteman and his Orchestra recorded four songs at the studio. On June 12, the recorded five more songs in the studio. On June 11, Tex Ritter recorded Jingle Jangle Jingle and Goodbye My Little Cherokee for his first Capitol recording session, and the songs formed Capitols 110th produced record. 133 - Get On Board Little Chillun - July 31,1942 - is a Freddie Slack/Ella Mae Morse/Mellowaires recording that might be the first rock n roll record and she has sometimes been called the first rock n roll singer. A good example is her 1942 recording of song which, with strong gospel, blues, boogie. Bone Walker recorded Mean Old World a pioneering example of the use of electric guitar. The earliest recording artists included co-owner Mercer, Whiteman, Tilton, Morse, Margaret Whiting, Jo Stafford, the Pied Pipers, Johnnie Johnston, Tex Ritter, Capitols first gold single was Morses Cow Cow Boogie in 1942. Capitols first album was Capitol Presents Songs By Johnny Mercer, a three 78-rpm disc set with recordings by Mercer, Stafford and the Pied Pipers, all with Westons Orchestra

18.
Jazz standard
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There is no definitive list of jazz standards, and the list of songs deemed to be standards changes over time. Songs included in major book publications and jazz reference works offer a rough guide to which songs are considered standards. Not all jazz standards were written by jazz composers, many are originally Tin Pan Alley popular songs, Broadway show tunes or songs from Hollywood musicals – the Great American Songbook. In Europe, jazz standards and fake books may include some traditional folk songs or pieces of ethnic music that have been played with a jazz feel by well known jazz players. A commonly played song can only be considered a jazz standard if it is played among jazz musicians. The jazz standard repertoire has some overlap with blues and pop standards, the most recorded jazz standard was W. C. Handys St. Louis Blues for over 20 years from the 1930s onward, today, the place is held by Body and Soul by Johnny Green. The most recorded standard composed by a musician is Thelonious Monks Round Midnight. From its conception at the change of the century, jazz was music intended for dancing. Edison, Inc. on Blue Amberol in December 1916 and in 1917, the first record with Jass on the label, The Original Dixieland One-Step was issue 18255 by Victor Talking Machine Company in 1917. Originally simply called jazz, the music of jazz bands is today often referred to as Dixieland or New Orleans jazz. Ragtime songs Twelfth Street Rag and Tiger Rag have become popular numbers for jazz artists, as have blues tunes St. Louis Blues, Tin Pan Alley songwriters contributed several songs to the jazz standard repertoire, including Indiana and After Youve Gone. Others, such as Some of These Days and Darktown Strutters Ball, were introduced by vaudeville performers, the most often recorded standards of this period are W. C. Handys St. Louis Blues, Turner Layton and Henry Creamers After Youve Gone and James Hanley, a period known as the Jazz Age started in the United States in the 1920s. Jazz had become popular music in the country, although older generations considered the music immoral, dances such as the Charleston and the Black Bottom were very popular during the period, and jazz bands typically consisted of seven to twelve musicians. Important orchestras in New York were led by Fletcher Henderson, Paul Whiteman, however, Chicagos importance as a center of jazz music started to diminish toward the end of the 1920s in favor of New York. In the early years of jazz, record companies were eager to decide what songs were to be recorded by their artists. Popular numbers in the 1920s were pop hits such as Sweet Georgia Brown, Dinah, the first jazz artist to be given some liberty in choosing his material was Louis Armstrong, whose band helped popularize many of the early standards in the 1920s and 1930s

19.
Margaret Whiting
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Margaret Eleanor Whiting was a singer of American popular music and country music who first made her reputation during the 1940s and 1950s. Whiting was born in Detroit, but her family moved to Los Angeles in 1929 and her father, Richard, was a composer of popular songs, including the classics Hooray for Hollywood, Aint We Got Fun. and On the Good Ship Lollipop. Her sister, Barbara Whiting, was an actress and singer, an aunt, Margaret Young, was a singer and popular recording artist in the 1920s. In 1942, Mercer co-founded Capitol Records and signed Margaret to one of Capitols first recording contracts, Whiting returned to Capitol in the early 1960s and then signed with London Records in 1966. On London, Whiting landed one last major hit single in 1966, The Wheel of Hurt and her final solo albums were made for Audiophile and DRG Records. Whiting co-starred on the 15-minute musical programs The Jack Smith Show and she also was a vocalist on The Eddie Cantor Show and was in the cast of The Philip Morris Follies of 1946 and The Railroad Hour. Additionally, she was hostess on the Spotlight Revue and a singer on the transcribed Barry Wood Show. She also appeared in the part of a young Sophie Tucker, Margaret and Barbara Whiting starred as themselves in the situation comedy Those Whiting Girls. The show, produced by Desilu Productions, aired on CBS as a replacement series between July,1955 and September,1957. In 1960, Whiting appeared as Vinnie Berkeley in one of the last episodes, Martial Law, of the ABC/Warner Brothers western series, paul Picerni was cast in the same segment as Duke Blaine. In 1984, Whiting appeared in the musical movie Taking My Turn. It was basically a version of the 1983 off-Broadway show in which she appeared. This ensemble show also included Marni Nixon, Tiger Haynes, the music was composed by Gary William Friedman with lyrics by Will Holt. The revue was centered on issues regarding aging, the stage production opened at New York Citys Entermedia Theatre on June 9,1983. It went on to win the 1984 Outer Critics Circle Award for Best Lyrics/Music and was nominated for the 1984 Drama Desk Award for Best Musical, a cast recording of the stage production was released and subsequently re-released on CD. From 1989 through 2001, Whiting was the Artistic Director of the annual Cabaret, hubbell Robinson Jr. Unrelated B-sides not shown Margaret Whiting at the Internet Movie Database Pop ranking from Joel Whitburns Pop Memories 1890–1954, published in 1986 by Record Research Inc

20.
Ray Conniff
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Joseph Raymond Ray Conniff was an American bandleader and arranger best known for his Ray Conniff Singers during the 1960s. Conniff was born in Attleboro, Massachusetts, and learned to play the trombone from his father and he studied music arranging from a course book. After serving in the U. S. Army in World War II, he joined the Artie Shaw big band and he wrote a top 10 arrangement for Don Cherrys Band of Gold in 1955, a single that sold more than a million copies. He also backed up the albums Tony by Tony Bennett, Blue Swing by Eileen Rodgers, Swingin for Two by Don Cherry, between 1957 and 1968, Conniff had 28 albums in the American Top 40, the most famous one being Somewhere My Love. He topped the album list in Britain in 1969 with His Orchestra, His Chorus, His Singers, His Sound and he also was the first American popular artist to record in Russia—in 1974 he recorded Ray Conniff in Moscow with the help of a local choir. In Brazil and Chile he was treated like a pop superstar in the 1980s and 1990s when he was in his 70s and 80s. I decided to have the choir sing along with the big band using wordless lyrics, the women were doubled with the trumpets and the men were doubled with the trombones. In the booth Mitch was totally surprised and excited at how well it worked, because of the success of his backing arrangements, and the new sound Conniff created, Miller allowed him to make his own record, and this became the successful ’s Wonderful. A collection of standards that were recorded with an orchestra and a singing chorus. His second album was Dance the Bop and it was an experiment by one of the brass at Columbia to cash in on a conceived dance step creation, but from the outset, Conniff disliked it. When it sold poorly, he had it withdrawn from the market, in 1959 he started The Ray Conniff Singers and released the album Its the Talk of the Town. This group brought him the biggest hit he ever had in his career, the lyrics of the albums title selection were written to the music of Laras Theme from the film Doctor Zhivago, and the result was a top 10 single in the US. The album reached the US top 20 and went platinum, the single and album also reached high positions in the international charts, whilst the first of four Christmas albums by the Singers, Christmas with Conniff was also successful. Nearly 50 years after its release, in 2004, Conniff was posthumously awarded a platinum album/CD, musically different highlights in Conniffs career are two albums he produced in cooperation with Billy Butterfield, an old friend from earlier swing days. Conniff Meets Butterfield featured Butterfields solo trumpet and a rhythm group, Just Kiddin Around, released 1963. Both albums are pure light jazz and did not feature any vocals, Conniff recorded in New York from 1955 through 1961 and mainly in Los Angeles from 1962 through 2000. Later in the 1960s he produced an average of two instrumental and one album a year. Conniff sold about 70 million albums worldwide, and continued recording and performing until his death in 2002 and he died in Escondido, California, from a fall he suffered in a bathtub, and is buried in the Westwood Village Memorial Park Cemetery in Los Angeles, California

21.
Columbia Records
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Columbia Records is an American record label owned by Sony Music Entertainment, a subsidiary of Sony Corporation of America, Inc. the United States division of Sony Corporation. It was founded in 1887, evolving from an enterprise named the American Graphophone Company. Columbia is the oldest surviving brand name in the sound business. Columbia Records went on to release records by an array of singers, instrumentalists. It is one of Sony Musics three flagship record labels alongside RCA Records and Epic Records, rather, as above, it was connected to CBS, a broadcasting media company which had purchased the company in 1938, and had been co-founded in 1927 by Columbia Records itself. Though Arista Records was sold to Bertelsmann Music Group, it would become a sister label of Columbia Records through its mutual connection to Sony Music. The Columbia Phonograph Company was founded in 1887 by stenographer, lawyer and New Jersey native Edward Easton and it derived its name from the District of Columbia, where it was headquartered. At first it had a monopoly on sales and service of Edison phonographs and phonograph cylinders in Washington. As was the custom of some of the regional companies, Columbia produced many commercial cylinder recordings of its own. Columbias ties to Edison and the North American Phonograph Company were severed in 1894 with the North American Phonograph Companys breakup, thereafter it sold only records and phonographs of its own manufacture. In 1902, Columbia introduced the XP record, a brown wax record. According to Gracyk, the molded brown waxes may have sold to Sears for distribution. Columbia began selling records and phonographs in addition to the cylinder system in 1901, preceded only by their Toy Graphophone of 1899. For a decade, Columbia competed with both the Edison Phonograph Company cylinders and the Victor Talking Machine Company disc records as one of the top three names in American recorded sound. In order to add prestige to its catalog of artists. The firm also introduced the internal-horn Grafonola to compete with the extremely popular Victrola sold by the rival Victor Talking Machine Company, during this era, Columbia used the famous Magic Notes logo—a pair of sixteenth notes in a circle—both in the United States and overseas. Columbia was split into two companies, one to make records and one to make players, Columbia Phonograph was moved to Connecticut, and Ed Easton went with it. Eventually it was renamed the Dictaphone Corporation, in late 1923, Columbia went into receivership

22.
Second Chorus
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The film was directed by H. C. Potter and produced independently for Paramount Pictures by Boris Morros. In a 1968 interview, Astaire described this effort as The worst film I ever made, Astaire admitted that he was attracted to the film by the opportunity to dance-conduct this real swingin outfit. In an interview shortly before his death, Shaw admitted this film put him off acting and he was a humorless Teutonic man, the opposite of his debonair image in top hat and tails. I liked him because he was an entertainer and an artist, an artist is concerned only with what is acceptable to himself, where an entertainer strives to please the public. The films copyright lapsed in 1967 and it is now in the domain, with the result that prior to its recent restoration. Danny ONeill, and Hank Taylor are friends and rival trumpeters, with ONeills Perennials, both of them have managed to prolong their college career by failing seven years in a row. At a performance, Ellen Miller catches Danny and Hanks eye and she serves them a collection notice for her boss, a debt collector, but the fast talking ONeill and Taylor soon have her working for them as their manager. Tired of losing gigs to the Perennials, Artie Shaw, playing himself and she tries to get Danny and Hank an audition for Shaws band, but their jealous hi-jinks get them both fired. Ellen talks Shaw into letting rich wannabee musician J. Lester Chisholm back a concert and it looks like the jig is up when Hank pretends to be Ellens jealous husband, and then her brother. But, talking fast, Danny and Hank get Chisholm back on board, to Ellens relief, Danny finally acts professionally, arranging his number for the show, which Shaw says has really grown up into something special. He hands the baton to Danny, and he successfully dance-conducts his own composition, sugar, Astaire is shown leading a college band in a jazz standard by Marceo Pinkard. Astaires trumpet playing is dubbed by Bobby Hackett, while Merediths is dubbed by Shaws bandsman Billy Butterfield, everythings Jumping, A brief number for Artie Shaw and his band. Im glad it was all right for I couldnt have done it again and it was the last of Astaires duets to be filmed entirely in one take. The dance incorporates a new step, the Dig It which involved snapping both feet together and then hopping while keeping them together, the rest of the dance involves original use of partnered teetering, scooting and dodging steps with some jitterbugging thrown in. In his first film appearance, Hermes Pan can be seen as the clarinetist in the band, sweet Sue, Another Astaire and Meredith mime routine, this time to a Victor Young standard. It is delivered by Astaire to Goddard and garnered an Academy Award nomination for Best Song, poor Mr. Chisholm, Accompanying himself on the piano Astaire sings this folk-parody Mercer-Henighen number for Shaws approval. It filled a spot in the picture and it features the use of strings – Shaws mice men as he liked to call them, an innovation he had just begun to incorporate into his big-band compositions – most famously in Frenesi - the year before. Hoe Down The Bayou/Poor Mr. Chisholm, Astaire conducts the band performing a tap solo

23.
RCA Records
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RCA Records is an American record label owned by Sony Music Entertainment, a subsidiary of Sony Corporation of America, Inc. It is one of SMEs three flagship labels, alongside Columbia Records and Epic Records. The label has released multiple genres of music, including pop, rock, hip hop, R&B, blues, jazz, the companys name is derived from the initials of the labels former parent company, the Radio Corporation of America. It is the second oldest recording company in US history, after sister label Columbia Records, RCAs Canadian unit is Sonys oldest label in Canada. It was one of only two Canadian record companies to survive the Great Depression, kelly, Enrique Iglesias, Foo Fighters, Kings of Leon, Kesha, Miley Cyrus, Giorgio Moroder, Jennifer Hudson, DAngelo, Pink, Tinashe, G-Eazy, Pitbull, Zayn and Wizkid. In 1929, the Radio Corporation of America purchased the Victor Talking Machine Company, then the worlds largest manufacturer of phonographs and phonograph records. The company then became RCA Victor but retained use of the Victor Records name on their labels until the beginning of 1946 when the labels were finally switched over to RCA Victor. With Victor, RCA acquired New World rights to the famous Nipper His Masters Voice trademark, in Shanghai, China, in 1931, RCA Victors British affiliate the Gramophone Company merged with the Columbia Graphophone Company to form EMI. This gave RCA head David Sarnoff a seat on the EMI board, in September 1931, RCA Victor introduced the first 33⅓ rpm records sold to the public, calling them Program Transcriptions. In the depths of the Great Depression, the format was a commercial failure, during the early part of the depression, RCA made a number of attempts to produce a successful cheap label to compete with the dime store labels. The first was the short-lived Timely Tunes label in 1931 sold at Montgomery Ward, in 1932, Bluebird Records was created as a sub-label of RCA Victor. It was originally an 8-inch record with a blue label. In 1933, RCA reintroduced Bluebird and Electradisk as a standard 10-inch label, another cheap label, Sunrise, was produced. The same musical couplings were issued on all three labels and Bluebird Records still survives eight decades after Electradisk and Sunrise were discontinued, RCA also produced records for Montgomery Ward label during the 1930s. Besides manufacturing records for themselves, RCA Victor operated RCA Custom which was the leading record manufacturer for independent record labels, RCA Custom also pressed record compilations for The Readers Digest Association. RCA sold its interest in EMI in 1935, but EMI continued to distribute RCA recordings in the UK, RCA also manufactured and distributed HMV classical recordings on the RCA and HMV labels in North America. During World War II, ties between RCA and its Japanese affiliate JVC were severed, the Japanese record company is today called Victor Entertainment and is still a JVC subsidiary. From 1942 to 1944, RCA Victor was seriously impacted by the American Federation of Musicians recording ban, virtually all union musicians could not make recordings during that period

24.
Epic Records
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Epic Records is an American record company owned by Sony Music Entertainment, a subsidiary of Sony Corporation of America, Inc. Epic was founded predominantly as a jazz and classical music label in 1953 and it later expanded its scope to include a more diverse range of musical genres, including pop, R&B, rock and hip hop. Historically, the label has housed popular acts such as Boston, ABBA, Michael Jackson, Celine Dion, Dave Clark Five, Gloria Estefan, Pearl Jam, Shakira, Anastacia, and Sly & the Family Stone. Along with Columbia and RCA Records, Epic is one of Sony Music Entertainments three main record labels, L. A. Reid has served as chairman and CEO of Epic since July 2011. Sylvia Rhone was appointed president in March 2014, Epic Records was launched in 1953 by Columbia Records for the purpose of marketing jazz, pop and classical music that did not fit the theme of its more mainstream Columbia Records label. Initial classical music releases were from Philips Records which distributed Columbia product in Europe, pop talent on co-owned Okeh Records were transferred to Epic which made Okeh a rhythm and blues label. Epics bright-yellow, black, and blue became a familiar trademark for many jazz. By 1960, the musical base had been expanded to include all genres. This was done in part to prevent the roster of Columbia Records from being overstuffed with newer artists, subsequently, Epic became better known for its signing of newer, fledgling acts. By the end of the 1960s, Epic earned its first gold records and had evolved into a formidable hit-making force in rock and roll, R&B and country music. Among its many acts, it included Roy Hamilton, Bobby Vinton, The Dave Clark Five, The Hollies, Tammy Wynette, Donovan, The Yardbirds, Lulu, July, Helen Shapiro and Jeff Beck. Also during the 1960s, Epic oversaw the smaller subsidiary CBS labels including Okeh Records, in 1968, Epic recordings began being distributed in the UK by CBS after the distribution deal with EMI expired that year, Epic itself launched in England around 1971. Epic was involved in a trade of artists. Graham Nash was signed to Epic because of his membership in The Hollies, when the newly formed Crosby, Stills & Nash wanted to sign with Atlantic Records, Ahmet Ertegün worked out a deal with Clive Davis whereby Richie Furays new band Poco would sign with Epic. Also contributing to the success was its distribution of Philadelphia International Records. Sony bought CBS Records in 1987, and the company was renamed Sony Music in 1991. In 2004, Sony merged with another powerhouse music distributor, BMG, bringing labels such as RCA, Arista, Columbia, Epic, Jive, in February 2009, singer and songwriter Amanda Ghost was appointed president of Epic Records. Later in the year, Sony BMG Music merged Epic and Columbias operations, Sony BMGs Legacy Recordings reissues the companys classic and catalog titles

25.
Circle Records
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Circle Records is a jazz record label founded in 1946 by Rudi Blesh and Harriet Janis. In New York, Blesh and Janis heard jazz drummer Warren Baby Dodds playing inventive solos with Bunk Johnsons band, Blesh said he hated drum solos until he saw Dodds. To record Dodds and others, they started Circle Records, the name was given by fellow audience member Marcel Duchamp, who said Records are circles, and besides, no one can call you squares. Circle recorded traditional jazz of the time, and its releases included Chippie Hill, George Lewis, the label was the first to release Jelly Roll Mortons Library of Congress recordings. Blesh and Janis continued the label until 1952, Circle was bought in the mid-1960s by George H. Buck, Jr. who reissued some of the catalog on compact disc, now under the control of the George H. Buck Jr. This Circle Records is not to be confused with the German record label of the same name

26.
Buck Clayton
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His principal influence was Louis Armstrong. The Penguin Guide to Jazz says that he “synthesi much of the history of jazz trumpet up to his own time, with a bright brassy tone, Clayton worked closely with Li Jinhui, father of Chinese popular music in Shanghai. His contributions helped change history in China, Hong Kong. Clayton learned to play the piano from the age of six and his father was an amateur musician associated with the familys local church, who was responsible for teaching his son the scales on a trumpet which he did not take up until his teens. From the age of seventeen, Clayton was taught the trumpet by Bob Russell, in his early twenties he was based in California, and was briefly a member of Duke Ellington’s Orchestra and worked with other leaders. Clayton was also taught at this time by trumpeter Mutt Carey, after high school, he moved to Los Angeles. He later formed a band named “14 Gentlemen from Harlem” in which he was the leader of the 14-member orchestra, from there, there are multiple sources claiming different ways in which Clayton ended up in Shanghai. Some claimed that Clayton was picked by Teddy Weatherford for a job at the Canidrome ballroom in the French Concession in Shanghai, others claimed he escaped the US temporarily to avoid racism. From 1934 or 1935, he was a leader of the Harlem Gentlemen in Shanghai, some of the bureaucratic social groups he was with included Chiang Kai-sheks wife Soong Mei-ling and her sister Ai-ling, who were regulars at the Canidrome. Clayton would play a number of songs that were composed by Li Jinhui, Li learned a great deal from the American jazz influence brought over by Clayton. A1935 guidebook in Shanghai listed Clayton and Teddy Weatherford as the main attraction at the Canidrome. He would eventually leave Shanghai before the 1937 Second Sino-Japanese War, Clayton is credited for helping to close the gap between traditional Chinese music and shidaiqu/mandopop. Li is mostly remembered in China as a casualty of the Cultural Revolution, Clayton remained with Basie until he was drafted for war service in November 1943. Based at Camp Kilmer near New York, Clayton was able to participate in various all-star sessions and he also recorded at this time for the H. R. S. In 1947 he was back in New York, and had a residency at the Café Society, Downtown, Clayton and Rushing worked together occasionally into the 1960s. From September 1949 Clayton was in Europe for nine months, leading his own band in France, Clayton recorded intermittently over the next few years for the French Vogue label, under his own name, that of clarinetist Mezz Mezzrow and for one session, with pianist Earl Hines. In 1953, he was again in Europe, touring with Mezzrow, in Italy, the English critic Stanley Dance coined the term mainstream in the 1950s to describe the style of those swing era players who fell between the revivalist and modernist camps. Clayton was precisely one of the players to whom this appellation most applied, in December 1953 Clayton embarked on a series of jam session albums for Columbia, which had been the idea of John Hammond, though George Avakian was the principal producer

27.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker

28.
Virtual International Authority File
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The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records

29.
Integrated Authority File
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The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives, the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero license, the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format

30.
MusicBrainz
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MusicBrainz is a project that aims to create an open data music database that is similar to the freedb project. MusicBrainz was founded in response to the placed on the Compact Disc Database. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become an open online database for music. MusicBrainz captures information about artists, their works, and the relationships between them. Recorded works entries capture at a minimum the album title, track titles, and these entries are maintained by volunteer editors who follow community written style guidelines. Recorded works can also store information about the date and country. As of 26 July 2016, MusicBrainz contained information about roughly 1.1 million artists,1.6 million releases, end-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as MP3, Ogg Vorbis or AAC. As with other contributions, the MusicBrainz community is in charge for maintaining and reviewing the data, besides collecting metadata about music, MusicBrainz also allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this, in 2000, MusicBrainz started using Relatables patented TRM for acoustic fingerprint matching. This feature attracted many users and allowed the database to grow quickly, however, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions. This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, tRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND, some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free service was uncertain, a replacement for it was sought. The Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský, while AcoustID and Chromaprint are not officially MusicBrainz projects, they are closely tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second, additional post-processing is then applied to compress this fingerprint while retaining patterns. The AcoustID search server then searches from the database of fingerprints by similarity, since 2003, MusicBrainzs core data are in the public domain, and additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL, the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, in December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye

Paul Whiteman and his orchestra in 1921. Whiteman's principal arranger, Ferde Grofé, is seated at the piano to the right. Photo is from sheet music cover in the collection of Fredrik Tersmeden (Lund, Sweden).